***The Official Guitar Thread***

Soldato
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Oh yes.. I just managed to compile Soundflower for MacOS 14.3.

What is that I hear? It's a soft loopback. It allows me to route sound and multiplex it too. This means I can play the guitar -> minifuse -> standalone NeuralDSP -> sound flower -> audio recording (or audio visual such as OBS) program then -> minifuse -> headphones. I don't need a DAW to record it (such as logic etc).

Edit: something to try later on OBS has a VST 2.0 plugin - so it could use the NeuralDSP plugin directly. It’s just hidden away as a plugin itself. #faceplam. Will look to see if it has the same delay as OBS has. It’s disconcerting when you play but there’s just too long a pause.
 
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Soldato
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Playing this morning with the Abasi plugin - drop active E and A etc. Octave-E drop needs a thicker string to help stop the travelling wave of the pick to cause it to go in and out of tune.

I have noted that the Abasi plugin has a digital gating/leading edge effect on the front end. Plus the delay between playing and hearing it is killing the experience. I was using a noise gate but I think it's cutting my voice out on the webcam but the sound is decent.
The same processing or something messes up the clarity between bass and treble in the headphones but on the recording it's not to bad.

Switching plugin.. using the thrash setting..

I'll sort out the gating etc over time but this is really just prodding the NeuralDSP plugins hence not playing anything interesting to get into YouTube problems.
 
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Soldato
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So I measured each string fret frequency and calculated each string fret frequency mathematically, the graph below is the % error deviation:
2BmmKat.png


Colour Key:
Bottom Blue = Low B string
Grey = Low E sting
Yellow = A Sting
Red/Orange = D string
Purple = G string
Upper Blue = High B string
Green = High E string

Note that simply pushing harder will change the frequency in the order of a few Hz given they're jumbo stainless steel frets so small error may be due to measurement.
The points on the graph that I need to look at:
1. The Nut - this is showing a big jump between the nut and the first fret that then has an impact through the rest of the frets.
2. That's my duff high-E string upper fret due to a couple of lifting frets.
3. This looks like my B string being a little erroneous up the frets.
4. This small so it may be a measurement error.

Frets in even 12 temperament go sharp up the fretboard but there's obviously a couple of issues.
First that Nut needs attention - ideally we can remove fret 1 error entirely and that would remove from the rest of the fretboard.

Edit: easy test for observation #1 is to tune the first fret, ignoring the open string. Sure enough the rest of the fretboard has less error. Although the Low B still has issues, which may be a bridge issue. Barred chords sound nicer too.
I think this points to the nut being too far away from fret 1, so shortening the fret length.

Edit edit: I tuned the guitar to fret 1 .. sounds a lot better and a large number of frets are bang on in frequency. So I think that will be the next improvement.
 
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Soldato
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You say you can't mix and match pedals but you can in a DAW - it is a bit of a faff but you can just have multiple copies of the plugin in the chain and switch off the amp + cab simulation in the ones which are only supposed to be doing pedal stuff. I don't do it often but for example if I really wanted the wah from the Corey Wong plugin with one of the other plugins I would set it up to only have the wah active and nothing else, and then put it in the chain before the main plugin I am using

That said - I do still have my actual pedalboard so I don't often do this. I haven't decided whether the system as a whole responds well to pedals - it's okay I suppose for ones which would naturally have been in front of the amp to begin with and kind of naff with any that would usually go in the loop (not that surprising really). I keep thinking with some creative routing it might be possible to send the preamp-only part of the signal out of the interface and then send it back in and through the power amp/cabsim - so essentially like a pedal loop, but haven't got around to trying
 
Soldato
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Sorted the issue with the sharpness.. turns out my intonation was intimated for 12th.. but not for the fretboard.. hence it was turning the entire fretboard sharp although it was 'intonated'.
 
Soldato
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Now I'm happy with the intonation - ignoring my lifted frets that need attention - the intonation error (measured Hz vs the calculated intended Hz at each fret) is at maximum 0.28%. Which is very low :)

I did some ambient noodling with the abasi plugin:

Although the tuner on the plugins are nice.. I'm also considering replacing my old Korg GT-3 tuner with a GA-CS Custom Tuner. The old GT-3 I've had since.. well.. 31 years? (it's not massively accurate and only support 6 strings of standard tuning).
The custom tuner seems to provide strobing, with a calibration around 440Hz for A but it doesn't allow 432 (seems to stop at 438 for some reason). It does have 0.1% accuracy which is good.

I suppose the other is the Peterson (supports 432Hz for "A" calibration) but that's £127 vs the £47 for the Korg..

Ok mental barf - the Korg doesn't provide a frequency readout.
 
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Man of Honour
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Oh hai there! Rejoining my own thread after a long period of absence! :)

I had to stop playing last year after getting pains in my wrist which were horrendous… back on it again and was thinking if I could do anything to make like easier for myself.

Popped into local guitar shop and played a couple of American strats, including their top of the line ‘Ultra’ model. This did have a pretty fabulous neck, but importantly a recessed / sculpted neck joint that gave great upper neck access. Really quite good.

But coming home it’s clear that my existing war horse, a Tom Anderson Angel… absolutely blows them out of the water. It’s on a completely different level. GAS… quenched!!!
 
Soldato
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Interesting discovery yesterday..


On a standard tuning 7 string you can play this with a single barred chord - bass and the choral, the step up in choral is simply the next string up making it an interesting play.
 
Soldato
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Busy with work but this week sees the end of my NeuralDSP trial period.

Observations - the plugins have a plus (lack of space needed) but seem to be limited in other ways - I can't really adjust or tinker with it. All the plugins are basically the same thing but I get the feeling that they deliberately make the settings unable todo clean etc. Which makes me think - money in software with a limited life time or into an DIY amp that will last a good 15+ years hmm..

That has got me thinking a bit about going back to building the 2W JCM800 but perhaps with a few tweaks:
a) make it a chassis'd head rather than a full combo - forgo the speaker which makes it easier on space for the time being.
b) make it speakerless initially but give it a 8R power sink resistor (I have 100W 8R resistors) and make a DI output from the transformer side (so the resistor divider makes full volume output compatible with the DI input).
c) see if it's possible to make a Fortin switch/circuit for the JCM800 circuit.

I'd better explain why use a tap on the speaker output - it allows the amp to drive at high output levels and saturate the output transformer but simply use that as the input. Think spinal tap volume settings but completely quiet. It also allows me to add a speaker late for some fun.
 
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Soldato
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I'm curious what you mean by the plugins can't do clean? Some are definitely better suited to clean tones than others but I find I can get some lovely cleans out of the Soldano... and when I tried out the Tone King, Corey Wong and Tim Henson ones they all had great cleans
 
Man of Honour
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Bought myself a set of fancy ‘music nomad’ set-up tools, having swapped in some 8s for an easy playing experience. I really like the fold out metal bit for ensuring the truss rod is set right, as trying to calculate whether a gap is “around 0.6” is impossible for the naked eye.


It’s a very lovely set but Jesus, how much did these pieces of plastic and metal cost?! Around £200 :eek:

… I expect you could do it much cheaper with alternatives but the reviews seemed to suggest that the tools etc. are really good and well considered… so I just went for it.
 
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Soldato
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13 Jan 2003
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I'm curious what you mean by the plugins can't do clean? Some are definitely better suited to clean tones than others but I find I can get some lovely cleans out of the Soldano... and when I tried out the Tone King, Corey Wong and Tim Henson ones they all had great cleans

Interesting.

I just retried the SLO - and yes you can get a clean out of it without having breakup. The Fortin seems incapable of that.

Will try the abasi too.

So after playing:
1. the Fortin is an out-and-out distortion amp to the point that it doesn't really have a clean.
2. the SLO100 seems to have a clean, wide range but can't manage the clarity of the Fortin in heavy distortion, giving a flabby/convoluted distortion when playing chords.
 
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Soldato
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South North West
I had to stop playing last year after getting pains in my wrist which were horrendous…
For the last 14 months I had increasingly bad -- and limiting in non-guitar stuff -- left shoulder troubles. I've been through the full range of YouTube and Google diagnoses, but (eventually!) I think I've narrowed it down to practicing lazily while sat on the sofa... so my arm's spent much of the last five years in "waving to someone" formation, twisted up almost vertically against the back of the sofa. I always used to play sat forward in my office chair, or on the edge of the sofa.

Nowadays I tend to stand and play in front of my mic stand, even when it's not plugged on, because I still find the whole playing/singing into a fixed mic distracting, and need to practice. But as a result, I've noticed my shoulder slowly getting better. Nothing else has changed, I'm just much, much more aware of that shoulder when I do sit on the sofa for lazy practice. Any soreness, I stop.

Anyway, while I'm here, today I am mostly unlearning how to play a G chord so I can transition from Amin to a descending G sequence without moving my index finger for "Knowing Me, Knowing You". This is not how I thought my life would end up, but... even A Long Way To Tipperary can be fun if enough people are engaged and singing along. So, after me now: "It's a long way to Tipp..."

Yea, ok, suit yourselves. I know... the door's that way. "I'm leaving, on a jet plane..."
 
Man of Honour
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Bought myself a set of fancy ‘music nomad’ set-up tools, having swapped in some 8s for an easy playing experience. I really like the fold out metal bit for ensuring the truss rod is set right, as trying to calculate whether a gap is “around 0.6” is impossible for the naked eye.

It’s a very lovely set but Jesus, how much did these pieces of plastic and metal cost?! Around £200 :eek:

… I expect you could do it much cheaper with alternatives but the reviews seemed to suggest that the tools etc. are really good and well considered… so I just went for it.

The pic I took for this.. Imgur wouldn’t work at the time!

ylGiCr2.jpeg



@Andrew_McP yup it’s just a case of not playing too much and being careful I guess. Hopefully I don’t cause more problems for myself again!
 
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Soldato
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South North West
had the urge to do a guitar cover type thing with Da Doo Ron Ron....
My "guitar jukebox" songbook now has an extra song in it! How could I not have this in the repertoire? Added next to The Locomotion & The Twist for assorted fill the dancefloor antics. Thanks for jogging my memory... takes a bit more jogging every year, sadly. Won't be long before I go to a dementia group or care home and they won't let me out again! :D
 
Soldato
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Just paid $99 for Rick Beato's fullset of music courses that are on offer (https://rickbeato.com/). Will let you know how I get on.

Once I reach a plateau/comfort then I'll probably subscribe to Bearnt's courses and flip between them as Bernt's are more guitar orientated.


Initial impressions are very good, so far each of the courses:

Beato Beginner Guitar - starts at the beginning but then starts building things without explaining completely, those things dovetail into the interactive book. It starts bringing key and chords in keys but it's easy to miss this initially.. the book then has the dense info on it.
I would say this is beginner and progressing into intermediate but acts like a ramp into the interactive book

The Beato Book Interactive - dense reference information, where you pick a specific concept and dive in. It has lots of video/audio in it but it's more deeper information in the concepts or theory. It's will introduce semi-tones etc in the space of a sentence but you get a lot in one go. It isn't meant to be read as a novel cover to cover but gives detail as you explore.
Perhaps there could be a simple guitar "pullout" guide that starts and takes a slow increasing ramp into the book. It's very good just be prepared to stop and start and re-review.
It's intermediate and beyond - it will take some self-study in addition to the book which is pretty much what I was looking for.

Beato Ear training - this I've just brushed on but not done a lesson yet.

Quick Lessons Pro - this is is full on exploring ideas and concepts for guitar, inprov but you need to be fluent in theory and terminology to follow. It's basically building into more depth and theory than the public quick lessons such as this:
I would say the quick lessons pro is upper intermediate-advanced.
 
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Soldato
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14 Dec 2005
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5,007
My "guitar jukebox" songbook now has an extra song in it! How could I not have this in the repertoire? Added next to The Locomotion & The Twist for assorted fill the dancefloor antics. Thanks for jogging my memory... takes a bit more jogging every year, sadly. Won't be long before I go to a dementia group or care home and they won't let me out again! :D
it's really just a 1-4-5 3 chord song too!
 
Soldato
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So I've been finding it hard to get my head around the fundamentals - even a dry boarded the concepts. I think the reason is when at school the music was taught by simply waving the chalk at staves, mumbling the term scales and key (not sure we got to key), followed by learning ad-hoc randomly with tab and listening means I had to unlearn 'things'. The mental point things all revolved around the key being a scale in my head really caused issues and rather than a single definition of a 'thing' the same term gets used across a number of things. This leads to confusion and circular confusion that never starts or ends anywhere - a bit like teaching you a language by never starting with the basics and just yelling the language louder - I found BBC Bitesize music theory a bit like this. It doesn't help I'm a visually orientated learner (to the point a maths prof commented in the geometric way I solve problems).

So.. how have started tackling this and what it seems I should learn at each stage without making a circular confusion - please correct me if anyone knows better to my beginner's rambling.

Beato's book covers the first initial points of this rapidly (in a very very short space of time of one page) which makes it difficult to pin a starting point mentally as each sentence is a new concept. So I've combined with a number of additional sources to try to build a pre-ramp into that.

0. Forget attempting to reference what you will learn against anything you think you know - key, scale, note etc. It will hinder you mentally picking this up. It's surprisingly difficult to let go.

1. The musical theory starts with Intervals - the distances between two note pitches. Forget keys, scales etc this is the fundamental building block.
The interval has its own terminology - this removes a large percentage of confusion.
For detail once you know more, a good free reference is this https://en.wikipedia.org/wiki/Interval_(music) when I mean reference it's dense and explains why -- for example why 1/2 an octave interval isn't 1/2 distance as you'd expect.

2. Next learn about interval number and quantity as this starts building on the terminology.
Again a dense point in the wikipedia link above.

3. Learn about interval quality as this has its additional terminology over the quantity above. If you ignore cords at this point and just look at two notes it makes it easier.
* Study Major and Minor Intervals
* Ignore inversion from the wiki link - cover that later
* Study Classification
* Enharmonic (this is page 2 in the beato book theory section - so you can see the mental jump you have to make)

4. Now add triads and chords into the above. Specifically the inner and outer spanning of intervals - you may start learning about keys at this point ahead of step 5..
The wiki page will introduce this as Intervals in Chords at this point.
Triads are easy - just Root, 3rd and 5th - which on a guitar is a three not power chord that you move around in standard guitar tuning.
Inversions are simply taking the bottom note and moving it an octave up IIRC - chord inversions on the guitar sound like jazz chords as they're used a lot in jazz.
We're starting to accelerate now..

5. What is a scale - start with diatonic, then major and minor scale. This is the confusing bit - major and minor get used for interval, chord, scale, or key..
At this point you will find it looping back a little as it will recap on Intervals difference between the scales. It then means you're looking at chords and Keys.
A dense source of additional info here: https://en.wikipedia.org/wiki/Major_and_minor#Intervals
The Diatonic, Major and minor (and scales themselves) are really a defined pattern of intervals - such as 1 step, 1 step,.., 1/2 step, 1 step,.. etc.
The key is simply the root stating point (note/tonic/key note) that the rest of the scale sits on (see the point about spacing pattern).

6. Circle of fifths. At this point you should have enough to understand what the circle of fifths represent. This will build out into key signatures.

7. Modes - these are really as easy as shifting right on a keyboard. Imagine taking your notes in a scale, the just moving one 1/2 step left for each on the keyboard.
There is a wiki page: https://en.wikipedia.org/wiki/Mode_(music) but it's not really as clear as it could be.
The shift left you can see down the page - each mode is shown but you'll note it simply moves up the scale (ie shift up in pitch) by one semi-tone (1/2 step).


At this point.. a basis exists and the points Beato makes and others starts making more sense.

So with that rough framework I'm going to try again...

EDIT: minor updates, additions and correction of mode direction (left not right!)
 
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